Paul Klee

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Paul Klee, photographed in 1911 by Alexander Eliasberg - quote by Paul Klee in his Diary entry, June 1902: 'The main thing now is not to paint precociously but to be, or at least become, an individual. The art of mastering life is the prerequisite for all further forms of expression, whether they are paintings, sculptures, tragedies, or musical compositions.'
Paul Klee, Nov. 1896: 'My room', pen and ink wash on paper; location: Klee Foundation, in Bern, Switzerland
Paul Klee, 1903: 'Inventionen Nr 3, Jungfrau im Baum / (Lady in the Tree', radierung; location: Museum of Modern Art, New York
Paul Klee, 1908: 'portrait of his young son Felix Paul Klee' drawing in ink wash on paper, bordered with ink, mounted on cardboard - (made in Munich); location: MOMA New York
Paul Klee, 1911: 'Self-portrait', ink on paper; location unknown
Paul Klee, 1914: 'Garden in St. Germain, The European Quarter Near Tunis', watercolor-painting on paper mounted on cardboard; location: MOMA New York quote of Klee from his diary, 16 April 1014: 'Color has taken possession of me; no longer do I have to chase after it, I know that it has hold of me forever.. .Color and I are one. I am a painter.'
Paul Klee, 1915: 'Föhn im Marc'schen Garten' (View in the garden of Franz Marc - made in his Blaue Reiter-period, watercolor on paper mounted on board; location: Lenbachhaus, Munich
photo of Paul Klee as soldier, 1916 World War 1. - quote of Klee, diary 1915: 'The more horrible this world (as today, for instance), the more abstract our art, whereas a happy world brings forth an art of the here and now.'
Paul Klee, 1917: 'With the Rainbow', watercolor on paper on cardboard; location unknown - quote of Klee, 1919: '..I thought I had come into the clear in art when for the first time I was able to apply an abstract style to nature.'
Paul Klee, 1920: 'Lovers', gouache and graphite on paper mounted on black paper mounted on cardboard; location: Moma New York
Paul Klee, 1923: 'Der Verliebte / The Lover', lithography on paper with red plate - printed and published in 1923 by the Bauhaus, Weimar
Paul Klee, 1928: 'Purple, green, orange and white abstraction of a dog howling at the moon', oil-painting on canvas; location: Minneapolis Institute of Art Minnesota
Paul Klee, 1932: 'View into the Fertile Country / Blick in das Fruchtland'
Paul Klee, 1933: 'La Kash-Ne', oil on paper mounted on cardboard; location: Moma New York - in 1933 Klee was singled out by a Nazi newspaper (and fired from his teacher job): 'Then that great fellow Klee comes onto the scene, already famed as a Bauhaus teacher.. .He tells everyone he's a thoroughbred Arab, but he's a typical Galician Jew' - in late 1933 the Klee family emigrated to Switzerland
Paul Klee, 1934: 'Figure of the Oriental Theater', oil on fabric mounted on cardboard; location: The Phillips Collection Washington D.C.
Paul Klee, 1936: 'Stricken City', gypsum and oil on canvas; location: MOMA New York
Paul Klee, 1938: 'Heroic Roses', oil-painting on stained canvas; location: Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany
Paul Klee, 1939: 'Engel, übervoll / Angel, over-full', quote of curator Tobias Burg about the many Angels Klee made in his last two years, knowing that he was deathly ill: 'There are no bleak or discouraged works, but extremely smart and witty angels'
Paul Klee, 1940: 'Tod und Feuer / Death and Fire', oil-painting on paper; location: Zentrum Paul Klee, Bern, Switzerland

Paul Klee (December 18 1879June 29 1940) was a Swiss painter of German nationality. He was influenced by many different art styles in his work, including expressionism, cubism and surrealism; he was art-teacher at the Bauhaus with Kandinsky and they exchanged ideas on art very intensively.

Quotes of Paul Klee[edit]

1900s[edit]

  • ..I served Beauty by drawing her enemies.
    • Paul Klee, from Diaries I, 1901; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 [1]
    • quote on his caricatures and satirical works Klee made then

"Artists on Art, from the 14th – 20th centuries"[edit]

"Artists on Art, from the 14th – 20th centuries", ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London

  • But by way of consolation: it is valueless to paint premature things, what counts is to be a personality, or at least to become one. The domination of life is one of the basic conditions of productive expression. For me this is surely the case; when I am depressed I am unable even to think about it – and this holds true for painting, sculpture, tragedy, or music. But I believe that pictures alone will abundantly fill out this one life. (Bern, April 1902)
    • p. 442
  • I have a feeling that sooner or later I shall arrive at something legitimate, only I must begin, not with hypotheses, but with specific instances, no matter how minute. If I then succeed in distinguishing a clear structure, I get more from it than from a lofty imaginary construction. And the typical will automatically follow from a series of examples. (Bern, April 1902)
    • p. 442
  • It is a great difficulty and great necessity to have to start with the smallest. I want to be as though new-born, knowing nothing, absolutely nothing, about Europe; ignoring poets and fashions, to be almost primitive. Then I want to do something very modest; to work out by myself a tiny, formal motive, one that my pencil; will be able to hold without any technique. One favorable moment is enough. The little thing is easily and concisely set down. It’s already done! It was a tiny but real affair, and someday, through the repetition of such small but original deeds, there will come one work upon which I can really build. (June 1902)
    • p. 442
  • The naked body is an altogether suitable object. In art classes I have gradually learned something of it from every angle. But now I will no more project some plan of it: I will proceed so that all its essentials, even those hidden by optical perspective, will appear upon the paper. And thus a little uncontested personal property has already been discovered, a style has been created. (June 1902)
    • p. 443
  • Formerly it frequently happened to me that when questioned regarding a picture I simply did not know what it represented. I had not seen the subject, so to say. Now I have also included the content so that I know most of the time what is represented. But this only supports my experience that what matters in the ultimate end is the abstract meaning of harmonization (note from a letter, 1903)
    • p. 443
  • When in Italy [Klee stayed in Italy, in 1901], I learned to understand architectural monuments.. .Even the dullest will understand that the obvious commensurability of parts, to each other and to the whole, corresponds to the hidden numerical proportions that exist in other artificial and natural organisms. It is clear that these figures are not cold and dead, but full of the breath of life; and the importance of measurements as an aid to study and creation becomes evident. (December 1903)
    • p. 443

The Diaries of Paul Klee, 1898-1918[edit]

The Diaries of Paul Klee, 1898-1918; University of California Press, 1968, ISBN 0-520-00653-4

  • My mirror probes down to the heart. I write words on the forehead and around the corners of the mouth. My human faces are truer than the real ones.
    • Diary entry (Munich, 1901), # 136, (p. 48)
  • The main thing now is not to paint precociously but to be, or at least become, an individual. The art of mastering life is the prerequisite for all further forms of expression, whether they are paintings, sculptures, tragedies, or musical compositions.
    • Diary entry (3 June 1902), # 411
  • When looking at any significant work of art, remember that a more significant one probably has had to be sacrificed.
    • Diary entry (December 1904), # 583
  • The beautiful, which is perhaps inseparable from art, is not after all tied to the subject, but to the pictorial representation. In this way and in no other does art overcome the ugly without avoiding it.
    • Diary entry (December 1905), # 733
  • To emphasize only the beautiful seems to me to be like a mathematical system that only concerns itself with positive numbers.
    • Diary entry (March 1906), # 759, The Diaries of Paul Klee, 1898-1918
  • He has found his style, when he cannot do otherwise, i.e., cannot do something else.
    • Diary entry (Munich, 1908), # 825, The Diaries of Paul Klee, 1898-1918 (p. 227)
  • Nature can afford to be prodigal in everything, the artist must be frugal down to the last detail.
    Nature is garrulous to the point of confusion, let the artist be truly taciturn.
    • Diary entry (Munich, 1909), # 857, The Diaries of Paul Klee, 1898-1918 (p. 236)
  • All the things an artist must be: poet, explorer of nature, philosopher!
    • Diary entry (Spring 1911), # 895

1910s[edit]

  • Kandinsky wants to organize a new society of artists. I came to feel a deep trust in him [ Kandinsky ]. He is somebody, and has an exceptionally beautiful and lucid mind.
    • Quote from Diaries III, 1911; as quoted by Enric Jardi, Paul Klee, Rizzoli Intl Pubns, 1991 - ISBN 0-8478-1343-6, p 12
    • In Autumn 1911 Klee made an acquaintance with August Macke and Kandinsky, and in winter he joined the editorial team of the almanac Der Blaue Reiter. On meeting Kandinsky, Klee recorded this
  • First of all, the art of living; then as my ideal profession, poetry and philosophy, and as my real profession, plastic arts; in the last resort, for lack of income, illustrations.
    • Quote of Klee c. 1910 in Munich; as quoted by Gualtieri Di San Lazzaro, Klee, Praeger, New York, 1957, p. 16
    • Klee was married, had a young son and did the housework, living in an suburb of Munich
  • These are primitive beginnings in art, such as one usually finds in ethnographic collections or at home in one's nursery. Do not laugh, reader! Children also have artistic ability, and there is wisdom in their having it! The more helpless they are, the more instructive are the examples they furnish us; and they must be preserved from corruption at an early age. Parallel phenomena are provided by the works of the mentally diseased; neither childish behaviour nor madness are insulting words here, as they commonly are. All this is to be taken very seriously, more seriously than all the public galleries, when it comes to reforming today's art.
    • Diary entry (January 1912), # 905, quoting his "Munich Art Letter" in the journal Die Alpen
  • Color has taken possession of me; no longer do I have to chase after it, I know that it has hold of me forever.. .Color and I are one. I am a painter.
    • Diary entry Tunisia, (16 April 1914), # 9260; as quoted by Suzanne Partsch in Klee (reissue), Benedikt Taschen, Cologne, 2007 - ISBN 978-3-8228-6361-9, p. 20
    • Klee stayed briefly in Tunisia together with August Macke and Louis Moilliet; the light there fascinated him.
  • The evening is deep inside me forever. Many a blond, northern moonrise, like a muted reflection, will softly remind me and remind me again and again. It will be my bride, my alter ego. An incentive to find myself. I myself am the moonrise of the south.
  • The more horrible this world (as today, for instance), the more abstract our art, whereas a happy world brings forth an art of the here and now.
    • Diary entry (1915), # 951
    • Variant: The more horrifying this world becomes (as it is these days) the more art becomes abstract; while a world at peace produces realistic art.
    • Variant: The more horrifying this world becomes, the more art becomes abstract; while a world at peace produces realistic art. This was quoted in the speech "Between Two Ages: The Meaning Of Our Times" by Wm. Van Dusen Wishard
  • Polyphonic painting is superior to music in that there, the time element becomes a spatial element. The notion of simultaneity stands out even more richly.
    • Statement of 1917, as quoted in Abstract Art (1990) by Anna Moszynska, p. 96
  • We document, explain, justify, construct, organize: these are good things, but we do not succeed in coming to the whole ... But we may as well calm down: construction is not absolute. Our virtue is this: by cultivating the exact we have laid the foundations for a science of art, including the unknown X.
    • Statement of 1917, as quoted in Teaching at the Bauhaus (2000) by Rainer Wick and Gabriele Diana Grawe, p. 231
  • Polyphonic painting is superior to music in that, here, the time element becomes a spatial element. The notion of simultaneity stands out even more richly.
    • Paul Klee, quote from Diaries III, 1917; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 [2]
  • Everything vanishes around me, and works are born as if out of the void. Ripe, graphic fruits fall off. My hand has become the obedient instrument of a remote will.
    • Diary entry (January/February 1918), # 1104, The Diaries of Paul Klee, 1898-1918 (p. 387)
  • ..I thought I had come into the clear in art when for the first time I was able to apply an abstract style to nature.
    • Paul Klee, in an autobiographical text for Wilhelm Hausenstein, 1919; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 [3]
  • I can dimly recollect Kandinsky and Weisgerber, who were fellow students of mine.. .Kandinsky was quiet and mixed the colours on his palette with the greatest diligence and, so it seemed to me, with a kind of studiousness, peering very closely at what he was doing.
    • Klee in a autobiographical text for Wilhelm Hausenstein, 1919; as quoted in Klee & Kandinsky, 2015 exhibition text – exposition, Lenbachhaus und Kunstbau Munich, from 21 October 2015 to 24 January 2016: on [4]

1920s[edit]

  • Diesseitig bin ich gar nicht fassbar. Denn ich wohne grad so gut bei den Toten, wie bei den Ungeborenen. Etwas näher dem Herzen der Schöpfung als üblich. Und noch lange nicht nahe genug.
    • I cannot be grasped in the here and now. For I reside just as much with the dead as with the unborn. Somewhat closer to the heart of creation than usual. But not nearly close enough.
      • Exhibition catalogue, Galerie Goltz, Munich, published in the gallery's house journal Der Ararat (May 1920). These words were later used as Klee's epitaph.
    • Variant translation: I cannot be understood at all on this earth. For I live as much with the dead as with the unborn. Somewhat closer to the heart of creation than usual. But not nearly close enough.
      • As quoted in Paul Klee : His Work and Thought (1991) by Marcel Franciscono, p. 5
  • Color is primarily Quality. Secondly, it is also Weight, for it has not only color value but also brilliance. Thirdly, it is Measure, for besides Quality and Weight, it has its limits, its area, and its extent, all of which may be measured.

    Tone value is primarily Weight, but in its extent and its boundaries, it is also Measure.

    Line, however, is solely Measure.

    • 'On Modern Art', lecture, Kunstverein, Jena (26 January 1924), trans. Paul Findlay in Paul Klee: On Modern Art (London, 1948)
  • It is interesting to observe how real the object remains, in spite of all abstractions.
    • Statement of mid-1920s, as quoted in Abstract Art (1990) by Anna Moszynska, p. 100
  • It is possible that a picture will move far away from Nature and yet find its way back to reality. The faculty of memory, experience at a distance produces pictorial associations.
    • Statement of mid-1920s, as quoted in Abstract Art (1990) by Anna Moszynska, p. 100
  • The longer a line, the more of the time element it contains. Distance is time whereas a surface is apprehended more in terms of the moment.
    • Exact Experiments in the Realm of Art (1927)
  • In art, too, there is room enough for exact research.. .What was accomplished in music before the end of the eighteenth century has hardly been begun in the pictorial field.
    • quote of Paul Klee from the text Exact experiments in the realm of art, 1928; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 [5]
  • We [at the Bauhaus, in Dessau - where Klee was art teacher with Kandinsky ] construct and construct, and yet intuition still has its uses. Without it we can do a lot, but not everything.. .When intuition is joined to exact research it speeds the progress of exact research..
    • In: 'Bauhaus prospectus 1929'; as quoted in Artists on Art, from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 444
  • What had already been done for music by the end of the eighteenth century has at last been begun for the pictorial arts. Mathematics and physics furnished the means in the form of rules to be followed and to be broken. In the beginning it is wholesome to be concerned with the functions and to disregard the finished form. Studies in algebra, in geometry, in mechanics characterize teaching directed towards the essential and the functional, in contrast to apparent. One learns to look behind the façade, to grasp the root of things. One learns to recognize the undercurrents, the antecedents of the visible. One learns to dig down, to uncover, to find the cause, to analyze.
    • In: 'Bauhaus prospectus 1929'; as quoted in Artists on Art, from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 444

Creative Credo (1920)[edit]

Creative Credo [Schöpferische Konfession] (1920)
  • Kunst gibt nicht das Sichtbare wieder, sondern macht sichtbar.
    • Art does not reproduce the visible; rather, it makes visible.
    • Section I
  • A tendency toward the abstract is inherent in linear expression: graphic imagery being confined to outlines has a fairy-like quality and at the same time can achieve great precision.
    • Section I
  • The pictorial work was born of movement, is itself recorded movement, and is assimilated through movement (eye muscles).
    • Section IV
  • Formerly we used to represent things visible on earth, things we either liked to look at or would have liked to see. Today we reveal the reality that is behind visible things, thus expressing the belief that the visible world is merely an isolated case in relation to the universe and that there are many more other, latent realities. Things appear to assume a broader and more diversified meaning, often seemingly contradicting the rational experience of yesterday. There is a striving to emphasize the essential character of the accidental.
    • Section V

1930's[edit]

  • Yesterday was shaped by Kandinsky's move.. .This departure is what proves something for me.. .It is a friendship that overcomes a number of negative items, because the plus side stands firm and, in particular, because there is a link to my productive youth [in Munich].
    • In a letter to his wife Lily Klee, 11 Dec. 1932; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 [6]
    • taken from Wikipedia: Following a Nazi smear campaign the Bauhaus academy left Dessau in 1932 for Berlin, until its dissolution in July 1933. Kandinsky then left Germany, settling in Paris.
  • At the moment, an unpleasant feeling presses on my stomach, as though the new year of the unified, national Germany has assisted in the advent of an all too torch-parade-like sparkling wine bacchanal.
    • In a letter to his wife Lily Klee, 1 February 1933; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 [7]
    • in the same year Paul Klee was fired by the Nazi's and the Bauhaus closed; the family Klee emigrated to Switzerland
  • Since not even sufficient time for my main business remains to me. Production is taking a larger magnitude at a faster tempo, and can no longer wholly keep up with these children. They [very probably: his new art] issue forth.
    • Paul Klee to his son Felix Paul Klee, 29.12.1939; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 [8]

Attributed from posthumous publications[edit]

  • Art should be like a holiday: something to give a man the opportunity to see things differently and to change his point of view.
    • As quoted in the film Der Bauhaus, produced by TV-Rechte in Germany (1975)

Quotes about Paul Klee[edit]

  • Kandinsky and Klee: the two artists.. ..have been named together more and more frequently.. .Since: is it supposed to be a mere coincidence that, in quiet, remote Dessau.. ..two creative spirits equally liberated from the burden of earthly problems – connecting East and West – live under one roof, or is it a wake-up call, a sign of what is to come?!
    • Fannina W. Halle, in: 'Das Kunstblatt', 1929; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 [9]
  • At the Bauhaus, Klee exuded a healthy, generative atmosphere – as a great artist and as a lucid, pure human being.
    • quote of Kandinsky, from 'Bauhaus. Zeitschrift für Gestaltung', no. 3, 1931; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 [10]
  • Then that great fellow Klee comes onto the scene, already famed as a Bauhaus teacher in Dessau. He tells everyone he's a thoroughbred Arab, but he's a typical Galician Jew.
    • from an article in a Nazi-newspaper, 1933: as quoted by Suzanne Partsch, in Klee (reissue), Benedikt Taschen, Cologne, 2007 - ISBN 978-3-8228-6361-9, p. 73
    • Klee also taught at the Düsseldorf Academy (also at The Bauhaus, with a. o. Kandinsky) from 1931 to 1933, but was singled out by a Nazi newspaper and then fired - the family Klee emigrated late 1933 to Switzerland
  • It would be so nice to once again drink a cup of tea with you, as was so often and so pleasantly the case in Dessau. We frequently think of our former closeness, of watering flowers at the same time, of the bocce[?] battles and – sad thought – of our collective complaints about the BH Bauhaus meetings [until 1933]. How far behind us all of that is!
    • Wassily Kandinsky from Paris to Paul Klee, 16 Dec. 1936; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 [11]
  • Alors sempre avanti! (Ever Forward / Always Ahead)
    • Kandinsky, from Paris to Paul Klee in Switzerland, 12 Dec. 1939; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 [12]
    • both were teaching on the [[w:Bauhaus|Bauhaus and were close friends, and had to escape the Nazi's in 1933
  • A Klee painting named ‘Angelus Novus’ shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing in from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. This storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.
  • But Paul Klee and Franz Marc were also close friends, and August Macke, too, whenever he was in Munich.. .Klee was never as active a theorist, in those years, as Kandinsky or Marianne de Werefkin. Besides, it took Klee much longer to become a truly and conscious modern artist.. .As you can see in my portrait of Klee, which is painted in 1913 – I mean the one where he is seen seated in one of the rooms here downstairs and wearing white summer slacks – he is not very communicative. That is why I depicted him all hunched up and tense, as if he were constraining some mainspring within himself. In my eyes, it was almost a portrait of silence rather than of Klee, and for many years it no longer occurred to me that he had been my model. But Klee was always a close friend of ours, and Kandinsky and I had great confidence in his talent and his future... (1958)
    • Gabriele Münter in an interview, 1958; as quoted in Dialogues – conversations with European Artists at Mid-century, Edouard Roditi, Lund Humphries Publishers Ltd, London, 1990, p. 120
  • The students' relationship to Kandinsky was very respectful.. .What he said was always insightful and more or less documented. In the case of Klee, in contrast, everything was always up in the air. You could make what you wanted of it.
    • Gunta Stölzl, in: Das Werk, 11, 1968; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 [13]
  • Klee was my so-called form master [at the Bauhaus, where a. o. Kandinsky, Klee and Albers were art teachers]. In the workshops there they had a crafts master and a form master. The crafts master had to direct the practical work, the mechanics of the workshop. And the form master had to develop the, formal qualities. Klee was my form master in the glass workshop. He came to me and never criticized anything. He talked about something else. Never asked about any form problem with the windows I was working on. Never a word. He was too respectful. He was the nicest master I could ask for. He talked about exhibitions. He thought I should exhibit. That's another story. We had a good relationship because we never dealt with the same problems. He didn't attack our problems. He never brought up a problem.
    • Josef Albers, in 'Oral history interview with Josef Albers, conducted by Sevim Fesci, 22 June – 5 July 1968, for the 'Archives of American Art', Smithsonian Institution
  • Klee's idiosyncracies always remained somewhat beyond the law, as it were. For 'genius is the defect in the system,' stated the conscientious system builder, who knew that genius was the only thing that could neither be taught nor learned.
    • Karl Ruhrberg, in Art of the 20th century, Part 1 (2000), p. 116
  • At a certain point in the 1950's he [Klee] had an enormous influence on many artists, including me. It wasn't until about 1965 that he started to slip out of sight - and after that one just didn't hear about him.
    • Bridget Riley, 2002; as quoted by Martin Gayford, in his article 'Close to the heart of creation', in 'The Telegraph, 12 Jan 2002
  • In any painting or drawing by Klee the working method was broadly the same. He started every picture with an abstract mark - a square, a triangle, a circle, a line or a dot - and then allowed that motif to evolve or grow, almost like a living organism. Klee's control over whatever medium he is using is never less than masterful, but you always sense that he began not knowing where it would lead.
    • Richard Dorment, in 'Paul Klee: Making Visible', in Tate Modern - review, 14 Oct 2013
  • It is typical for Klee that he often brought joyful, sympathetic, childlike angels with small weaknesses on paper in spite of his death warnings. There are no bleak or discouraged works, but extremely smart and witty angels.
    • curator Tobias Burg, in exhibition-text of the Folkwang Museum 'Die 80 Engel von Paul Klee / The 80 Angels of Paul Klee' in Essen, Germany, 2013

External links[edit]

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